


Tyche's Notes: Magical Theory 101

by TycheSong



Category: Harry Potter - J. K. Rowling
Genre: Author Notes, Gen, Head-Canon, This is not a story
Language: English
Status: In-Progress
Published: 2015-04-26
Updated: 2015-12-27
Packaged: 2018-03-25 21:43:19
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 2
Words: 5,034
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/3826099
Author URL: https://archiveofourown.org/users/TycheSong/pseuds/TycheSong
Summary: <blockquote class="userstuff">
              <p>Geeky non-canon notes about various aspects of the HP world that I use to keep that world organized and more real (to me at least). Includes magical theory, world building, anything I think someone as nerdy as I am might find interesting. You are more than welcome to skip if it's not your cup of tea. ;-)</p>
            </blockquote>





	1. Magical Theory 101

**Author's Note:**

  * For [SusanMarieR](https://archiveofourown.org/users/SusanMarieR/gifts).



> **Summary:** Geeky non-canon notes about various aspects of the HP world that I use to keep that world organized and more real (to me at least). Includes magical theory, world building, anything I think someone as nerdy as I am might find interesting. You are more than welcome to skip if it's not your cup of tea. ;-)
> 
>  **Disclaimer:** All recognizable characters, spells, fictional places etc, etc do not belong to me. However, quite a lot of this DOES belong to me, as these are my Head-canon notes. JKR did not create my viewpoints on HP world magical theory, nor does she endorse them as canon. Ditto for the random numbers you happen to see hanging about (ie number of wards, etc). If you are interested in using my Head Canon for any reason, all I ask is that you credit me in an author note somewhere, and direct readers back here. :-)
> 
>  **Pairings/Main Characters:** This is not a story. There are no characters except what is used in example.
> 
>  **Warnings:** This is not a story and the notes contained within are not canon. I am not expecting people to necessarily agree with them. I am posting them simply because a few people thought it would be interesting.
> 
>  **Thank You:** To JKR for letting me play with her world, and to those who have expressed an interest in the behind-the-scenes "stuff" I come up with and only peripherally use.
> 
>  **Dedication:** To susanmarier, who has spent countless hours making banner art for me, for a runic alphabet I made up entirely only to never use when that particular story was pulled for plot reasons, and who first expressed an interest in my personal head canon.

**Part One: Classifications of Magic  
**

Magic is primarily divided into four basic categorizations: Spells Magic, Ley Magic, Potions Magic and Runic Magic. Most magical people have a particular affinity with one of these four. It is not uncommon to be naturally proficient at two. It is a rare individual that is born with a natural and innate talent for three or four. Those who are inevitably wield more magical strength and power than their peers.

Imagine then, that the magical strength of a witch or wizard is similar to a table. The height of the table (or level of strength) is dependant on not only how high the table legs are, but how balanced they are against each other. A wizard who is extremely proficient at Ley Magic but not the other three will never be magically strong. His body will innately attempt to keep the balance of his "table" by stunting his Ley talent to stay within reach of the other three classes of magic. This phenomena known as Blocking, and it is theorized that it is the body's natural defence mechanism to keep an overbalance of power from mental or physical harm, as it also can occur in direct relation to trauma.

It is important, therefore, when one is attempting to build magical strength to focus efforts upon the classes of magic that one is _not_ talented at. Just as with muscles, a proficiency can be made stronger with calculated practice and use. Blocking is often blamed on puberty as it frequently coincides with that period of life, when children are in school and learning how to use and control their magic.

* * *

**LEY MAGIC:**

Ley Magic is the act of a witch or wizard manipulating the magical conduits of themselves or the world around them directly, rather than altering them with runes, spells, or preparation. Often referred to as "Earth Magic" or "Elemental Magic," Ley Magic is most closely associated with the disciplines of Healing, Herbology and Divination. Ley magic is often used in conjunction with runic magic as well to divert or "create" new magical conduits.

 **Meridians** are the lines of magic found in a being (human or not) that are manipulable. Often very closely related to the nervous system, they can be used to heal or relieve or stimulate physical sensations. They are also often "read" in forms of divination such as when using Crystal Ball implements or Chiromancy. In rune casting magic, the being selecting runes makes their choice unconsciously relying on their Meridians, whilst the "reader" interprets using runic magic.

Unlike any other classification of magic, proficiency in Ley Magic nearly always requires a certain level of physical fitness as well. Because one is often using their own Meridians to influence the Meridians, Chakras or Ley lines around them, their own need to be in good condition to do so correctly.

 **Chakras** are specific points in a being where Meridian lines converge and create points of particular importance and power.

 **Ley lines** , for which the classification is named, are similar lines of magical power and energy running through the earth itself, plants, or sky. Many of the larger ones tend to align with tectonic plates, but not all. It is not known if one caused the other or vice versa. These can be used stimulate or halt growth, read in some forms of divination (such as astrology) and are what implement makers use when they create wands, staves, crystal balls, or magical jewelry. It is extremely common for magical places to be built along or on them. In Britain some obvious examples are Diagon and Knockturn Alleys (Diagonal-Ley and Nocturnal-ley). Paris also boasts a strong magical community along Reve Alley (Reveal or Dream Ley).

 **Sacred Sites** , also called "Places of Power" are like Chakras of Earth ley lines. Often the magic is concentrated so strongly that even Muggles can feel that the place is "Special." Monuments and cities are commonly built on them by both peoples. Famous examples are Stonehenge, Avalon, Luxor, Chichen Itza, Angkor, Temple Mount, Hagia Sophia, and many, _many_ more.

* * *

**POTIONS MAGIC (AND ALCHEMY):**

Potions Magic is the act of a witch or wizard combining a series of components in a particular order and imbuing it with magic to create a substance with magical properties. The substance is unsupported thereafter by the witch or wizard and will work effectively on anyone afterwards—including Muggles and Squibs.

A potion _must_ be imbued with magic by its brewer—it is impossible for a Muggle or a Squib to brew a potion. The magic involved, however, differs from the other three categorizations in that it does not usually require active concentration on the magic itself. While Spells, Runes and Ley magic all require the mage to focus on their magic, Potions Magic requires the mage to focus on the components themselves. The magic is then imbued nearly unconsciously. Due to this, it can be difficult to improve one's "talent" at Potions Magic. It is possible to improve one's timing or attention, but it requires an incredible self-awareness to actually improve imbuement.

Because of the difficulty involved, many consider Potions Magic to be something one is either good at or not. This is not strictly true, as was proven by Chinese Potions Mistress Wei Su Lin. Considered a potions revolutionary, Su Lin hypothesized and proved that by using meditation and studying one's own magical essence (See Ley Magic), one could actually provide more acute focus in one's imbuement. She was, however, also mad and not diligent or clear in her note-taking. It is likely a great deal of her initial discoveries are lost forever to history.

The elements used in potion making are properly called components—never "ingredients." It is generally one of the first lessons taught in first year potions. Components can consist of many different things, both magical and not, and often must be harvested or prepared a specific way to create a working potion.

Potions can be sub classed in two different ways. Either by application or by purpose.

By application:

 **Droughts** are taken orally. Examples of droughts are Pepper-Up or Headache Reliever.

 **Balms** are applied topically. Examples of balms are Sleakeazy's Hair Potion or Burn Salve.

 **Vapours** are inhaled, typically in gaseous form. Examples of vapours are Digglewort's Decongestant or many of the banned poisons and recreational hallucinagins. Vapours are often side effects of more common potions, as well.

By Purpose:

 **Elixirs** effect a being or object physically. Examples of elixirs are Hiccoughing Remedy Polyjuice, Tincture of Pain-Relief, and Draught of the Living Death.

 **Philters** effect a being mentally or magically. Examples of philters are Felix Felicius, "love" potions of any kind, or Dreamless Drought.

 **ALCHEMY:** is considered a subset of Potions Magic, but it is more accurately a mixture of Potions and Ley magic. The general opinion of most potions masters and mistresses is that it should be considered a separate category entirely. It _is_ a separate mastery, and the typical potions master or mistress is not necessarily well versed in it.

Alchemy is the act of combining components and imbuing them with magic like a potion, but instead of creating an altering substance, the substance _itself_ is altered. An alchemical item may still have magical properties (such as the Philosopher's Stone), but it is more commonly a component or non-magical item itself. Subsets of Alchemy are magical metallurgy (the most famous is creating gold from a less valuable substance), and compound components (creating non-magical elements that may be used to create a magical potion).

Nicolas Flamel's Philosopher's Stone is famous for not only its magical metallurgical properties, but also for being a chief component in _Elixir Vitae_. Perhaps the most famous elixir, _Elixir Vitae_ is unique in that it is _also_ a philter. It is one of the very few potions that affects the drinker both mentally (extending memory life and warding off dementia/senility) _and_ physically (cell regeneration—providing a near-immortal existence).

It has not been proven whether or not a drinker of _Elixir Vitae_ is truly immortal of death by old age or not, as the only known drinkers chose to discontinue the use of the potion and die. The oldest known partaker of _Elixir Vitae_ is Nicolas Flamel himself, who died by choice at age six hundred and sixty-five.

* * *

**RUNIC MAGIC:**

There are three primary ways to use Runic Magic:

 **Casting:** Casting rune stones is a form of divination entailing tossing balanced stones (often semi-precious) engraved on one side with the runes—usually on a marked board called a _livet kart_ (translation: Life Map). Depending on where on the board they fall and whether they are face up or face down can inform the caster of pertinent knowledge to the situation at hand. Another method of Casting Rune Stones is by having a subject chose a pre-selected number blindly themselves. The subject's own personal Ley Magic contributes on their end, making "Rune Casting" a joint discipline. In this case even the stones that land face down have a particular meaning. There is no such thing as a blank rune. If you buy a set of rune stones that includes a "blank" rune stone, throw it out. The whole point of a rune is that it's there. Any Rune Caster who knows what he or she is talking about will tell you the same, whether a muggle fortune teller or a wizard/witch.

 **Laying/Drawing:** More commonly, Runes can be "laid" or "drawn" into rune lines. This would imbue said object or area with the intent and representation of the rune lines. For instance, a baby might be blessed with a rune line drawn on their forehead in oil, or a Rite (see Spells) might include the placement of runes or rune lines to ground them. Rune lines that are continuous around an area or that are connected by lines of power (either spell lines or ley-lines) are called Wards. Wards are thus considered primarily Runic Magic, though like all more powerful forms of magic, they are really a combination of classes.

It should be noted that like all forms of magic, rune lines cannot simply be drawn by anybody. The layer must be a wizard or a witch (preferably one with Runic talent), and they must be consciously imbuing their rune or rune line with magic. It is quite possible (and very common) for a magic user to practice drawing runes and rune lines without the use of magic. Therefore, not all rune lines that one might see are automatically magical. There are two ways to draw a rune:

 **In Negative:** Each rune can also be drawn "in negative" (mirror image) which effectively reverses their meaning. However, it is important to note that drawing a rune in Negative does not make it mean the same thing as the rune that holds balance in opposition. Usually, it will reverse the meaning in a strictly "monkey's paw" and horrifying sort of way. One may draw a rune that means "weakness" or "illness" in negative, but that does not mean that the rune now represents strength or health. It may now mean preservation to the point of stagnation, or it may mean lack of ability to suffer/numbness. To draw health and vitality, it is a much better option to instead draw the actual runes or combination of runes that represent these qualities.

 **In Minor/Major:** It is also possible to draw runes with or without emphasis. A rune drawn in minor, means "in a general sense". For example, if one were to draw a rune representing suffering in minor, it would represent suffering in general as a whole. It might be used as part of a ward to bring general unhappiness to a trespasser, or it may be used in a more complicated line to actively repel unhappiness or suffering.

In contrast, a rune drawn in Major has a very specific meaning or is attached to a specific person. The same rune drawn in Major might be used to specifically bind a trespasser of the ward rather than general ill feeling, or to specifically target only one person. Many older wizarding homes, for example, include protection wards drawn in Major, so that the wards are tied specifically to family members of that bloodline.

Another example would be that some Runic Wizards and Witches will have a grand master tattoo runes in Major on them to imbue them or their magic with traits of that rune. It is illegal to have this done by anyone without a grand mastery, and one must also seek the permission of the Ministry to do so, as such things can go horribly awry and are permanent.

 **Compound Runes:** Compound runes—or collapsed runes as they are sometimes known—is when two or more runes from either the same or separate runic alphabets are combined along common lines to create new runes.

 **Glyph:** A pictograph used to represent something (as a Rune), but not strictly or technically a rune as it is not an official member of a written language. They are used most often in warding. They are typically created by Runic Masters/Mistresses for an express purpose or ward, and should only be used if they are taught specifically by their creator, as they can have esoteric and complex meanings.

 **Warding:** Primarily considered Runic Magic, warding is actually a combination of both Runic and Spells or Ley Magic. A ward is a line of power (usually a spell, but sometimes a ley line) anchored into a solid surface by runes. One would create a ward by drawing two runes or rune lines (or more) and "bridging" the space between with said line.

The weakest point of the ward, where a person would want to attack if trying to break through, is the center of the bridge. Therefore, the closer the runes or rune lines are together, the stronger the ward is. The strongest form of a single ward would be a continuous, unbroken line of runes or rune lines around a room or area. These, however, would take a lot of time to create and are uncommon. The weakest, on the other hand, is a single straight line (perhaps crossing a doorway or window) anchored by a single simple rune on either side.

Hogwarts is rather famous for its wards as it has (unbeknownst to most of its inhabitants) an anchoring rune on every stone it is built with. The entire castle is literally buttressed and encased in protective wards, making it not only the most secure location in the UK, but one of the most secure locations in the world.

Wards can be made more difficult and complicated a number of ways. You can make a more difficult ward by layering two or more on top of each other, placing the anchoring runes in the center of the wards beneath it. This way it can be confusing as to how many wards there really are, and where the true center of each layered ward is. If one does discover the right place, it is more difficult to break since the weakest point of one ward is the strongest point of the other.

Another way to complicate a ward is to use more than one runic alphabet in the anchoring rune line. A person may recognize one alphabet, but not another, thus making the ward unclear to them. It is difficult to inactivate a ward subtly that you do not understand. This is the primary reason behind the field of Curse Breaking requiring a N.E.W.T. In Ancient Runes.

 **Runic Alphabets:** The most common ones are the Elder Futhark (Nordic) and the Ogham (Celtic) Runes, both of which can be googled by muggles. :-) Egyptian hieroglyphs and ancient Chinese Characters also fall into Runic categories, though both "alphabets" are so numerous that it is considerably more difficult to learn to use them correctly.

 **Arithmancy:** Runes and glyphs are also used heavily in Arithmancy alongside numerology to form Arithmantic Matrices. By utilising both numbers and runes, an Arithmancer can depict and quantify for different elements of this form of magical probability than by using numerology alone. Taking Advanced Arithmancy requires an O.W.L. in Ancient Runes.

* * *

**SPELLS MAGIC:**

Spells Magic is when a wizard or witch directly influences something by channelling their magic through a spell. They can be performed verbally or not and implemented or not. Spells are most commonly performed aloud and aided by an implement such as a wand or (more commonly in Eastern culture), a staff. Spells tend to be classified as either "dark" or not in varying levels, depending upon the general intent of the spell. However, it should be noted that the vast majority of spells are actually neutral and can be used for either purpose. Their classification is primary contextual.

Spells typically will fall into one of three general categories:

 **The Charm:** The charm is a superficial and simple spell, temporary to the point where many only exist as long as their caster is paying attention to them. A charm that is set up to last with minimal tending will still dissipate on their own after a time, depending upon the strength of a casting. The charm is by far and large the most common spell to be found. Examples include most household "magicked" chores, charmed quills, chocolate frogs, and cosmetic charms. If the spell is considered of "dark" intention, it is called a Jinx rather than a Charm. Technically, the Cruciatus would be classified as a Jinx, due to the castor's need to concentrate throughout its duration. However, because of its nature, it has gained the misnomer of "Curse."

 **The Enchantment:** An enchantment is officially labeled as "semi-permanent," meaning any spell that has to actually be counter-spelled to undo, rather then eventually just falling apart on their own. Many spells that fall in this category often start bleeding into other classifications of magic as well. Transfiguration, for example, is a mixture of using an item or creatures ley lines (see Ley Magic), and ensorcelling it into a semi-permanent state of something else.

Summoning and Conjuration also are a mixture of Ley and Spells magic, and thus are often taught in advanced transfiguration classes, despite being an _entirely separate_ subject. Most minor wards are a mixture of enchantment spells and runes (see Runic Magic). An example of a purely Spells enchantment would be the spell laid on chameleon and invisibility cloaks, or on translation amulets. Arthur Weasley's flying automobile, broomsticks, and three out of the four quidditch balls would be ensorcelled items. If the enchantment is considered of "dark" intention, it is then properly classified as a Hex. The Imperious Curse has also been misnamed, as it is technically a Malediction, or Hex.

 **The Rite:** A Rite is a permanent spell—almost always including other classifications of magic—and cannot simply be dispelled or counter-cursed. A Rite must actually be broken down or through. Often the destruction of a Rite or Curse results in the destruction of the original item involved.

Rites are found most commonly as architectural stabilizing spells and major wards. Another good example of a Rite is a Soul Binding (either to another person—almost unheard of since ancient times—or to an animal familiar.) A five year study of Gringotts Bank once revealed that there are over 17,500 Rites (including Curses) on the premises, many of which have been in place since before the building itself was established. If the Rite is considered "dark" intentioned, it is called a Curse. Of the three unforgivable "curses," the only one that actually is a Curse is Avada Kedavra. Another example of a true Curse is the Necromantic spell used on Inferi, or the _Obliviate_ Spell _._


	2. Chapter Two: Element Inclinations, Echo Theory and Memories

**Summary for the Chapter:**

> Geeky non-canon notes about various aspects of the HP world that I use to keep that world organized and more real (to me at least). Includes magical theory, world building, anything I think someone as nerdy as I am might find interesting. You are more than welcome to skip if it's not your cup of tea. ;-)

It is Harry Potter canon (stamped with approval by JKR) that the four houses of Hogwarts are based on the four basic elements of old. Gryffindor relates to fire, Hufflepuff relates to Earth, Ravenclaw relates to Air/Wind, and Slytherin relates to Water. She illustrates this in where their dormitories are located.

The Elemental Magic Theory is that everyone's magic is either tied to or inclined to a specific element. Thus the four Houses of Hogwarts are not merely representative of each element symbolically--they are indicative of which element their Founder's magic gravitated toward. 

It is also a generally accepted idea that balance plays a very important role in all parts of life, (often in fours). To be a healthy and happy human being one typically has to balance physical, mental, social and spiritual health.* As mentioned in the last chapter (Magical Classifications) that to be magically powerful one must balance strengths across the four different classes of magic.

Consider then the origin of Hogwarts and its founders. They are widely believed to be extremely powerful, and it makes sense. It was an alliance of four magical people in almost perfect balance with themselves and eachother. To be powerful they all had to be skilled across the four classifications. They were balanced across gender, across elements, and across disciplines.

The question is: how does this affect Hogwarts as an institution today; why should the current magical populace care? The answer is actually very simple: the Sorting Hat. 

The Sorting Hat has long been legendary for its ability to sort children based on their priorities--to search the child's thoughts and discover what that particular child considers the most important trait in life. When one thinks about it, it is a <i>stunning</i> display of not only life but legilimency and cognitive reasoning. Particularly for what started out (presumably) as not only an non-magical being, but an inanimate object. That is an incredible amount of effort and design to put into a tool used once a year. Or is it?

My head-canon theory is that children are not sorted by their priorities or personalities at all. They are sorted by their magical element. Magic can grant an imitation of sentience to objects--things can even be ensorcelled to respond to direct stimuli and complex sentences. Good examples include the Sentinals and Gargoyles of Hogwarts, that (once activated) can take orders from the Headmaster of the School. Another good example is the Marauder's Map, which had no trouble "understanding" Professor Snape and insulting him, even though the map itself is not a sentient creature.

The Sorting Hat is ensorcelled similarly. It can sing a song about unity, and repeat itself in a variety of amusing ways over the years, and even directly respond to the words and questions of the students. Ultimately, however, it is sorting based on where the student's magical inclination lies. Children whose magic is elementally inclined toward water end up in Slytherin, for Earth, in Hufflepuff, etc.

The rest is all nurture. An eleven-year-old child told he is brave or cunning and is surrounded by his tribe of like-minded friends will naturally want to develop those traits as a matter of survival and an instinctual need for approval, even if they are not initially brave at all (Neville Longbottom) or cunning (Vincent Crabbe and Gregory Goyle). Viewed in this light, it is really no surprise that certain houses are predisposed as natural "enemies" or allies.

There are rarely a few who land magically "on the cusp" between elements: the Hat Stalls. Minerva McGonagall was one of these. The Hat "couldn't decide" for nearly two minutes if she was a Ravenclaw or a Gryffindor. The elements naturally balance each other (the theme is recurring): Water vs Fire, Air vs Earth. If one were to view it as a compass grid or a circle it would go: Air -> Fire -> Earth -> Water. Minerva simply fell on the cusp between Air and Fire.  

Harry Potter is another interesting example. Unlike Minerva, the Hat was facing something it likely hadn't before: someone who seemed to be on the cusp of opposites. Was Harry Potter a Gryffindor and naturally predisposed toward Fire like both of his parents (which also makes genetic sense), or was he Water--which makes no sense at all but somehow still crops up as a possibility. If he were on the cusp of the two, shouldn't he land either on the side of Air (Ravenclaw) or Earth (Hufflepuff)?The answer goes back to the fact that Harry was a Horcrux, and magically bound to another soul that was very much inclined toward Water. The Hat wasn't wrong. It never is, because it is based on magical elements and some clever enchantments.

This is how a man as ambitious and as cunning as Albus Dumbledore and a woman as erudite as Hermione Granger end up in Gryffindor.

**The Echo Theory**

The Echo Theory is that each magical person can leave a single imprint of themselves behind after their death: an Echo of themselves and perhaps even a direct connection to their soul. The most common examples are as a magical portrait or a ghost. It is entirely possible that other ways exist as well, and that not all of them are documented. Each person can only "immortalise" themselves in this way once. This is why a person might have many portraits of themselves, but once dead, only one of him or her exists to drift from frame to frame. This is also why there are no "living" portraits of ghosts.

Sir Nick mentions in canon that existence as a ghost is conscious choice, and once a wizard or witch dies, their portrait "wakes up." This implies that it is an actual piece of their soul. A form of horcrux that is not considered "dark" because it is made using the death of oneself versus the death of another, and further evidence that Albus Dumbledore's death was an assisted suicide and not a true murder. 

Wizarding photos, by contrast, do not hold an actual echo of the person's life. They are exactly what they are described as: snapshots of life that endlessly repeat without actual sentience. I will likely be thinking more on this in the future, and the nature of souls in general 

**Memories:**

Memories, according to canon, are inadmissible as evidence in court, and for good reason!

In canon we have one clear example of an altered memory: Professor Slughorn. It could be easily argued that based on this example, memories <i>should</i> be admitted. His blatant tampering and attempt to cover his past shame was clumsy and easily discernible to even an untrained teenager. I would argue that equally, this is a bad example to base the decision on as a whole.

The memory in question was not a chance encounter that is easily forgotten; it was an important moment in bringing Tom Riddle to power, a memory that Horace Slughorn was deeply ashamed of. It was a memory of him playing favourites with one of the most dangerous and hated wizards in recent history--a memory that was the very antithesis of what Professor Slughorn treasured in life. It was a memory of him happily helping a very twisted young man achieve something very, very dark. A memory like that is not something that one simply forgets--it is Horace Slughorn's equivalent to Severus Snape's memory of betraying Lily. No matter how desperately one wishes it were different, a memory like that burns its way into your brain and consciousness. We discover later that of course Professor Slughorn hasn't forgotten what really happened at all. Under the right circumstances, he easily recalls the truth for Harry.

Not so the case for most memories. How easily do we forget where we put things, what day we spoke to someone, or what outfit they were wearing when we did? How often in Muggle court do eye-witnesses become confused and second guess their own memories by something as simple as a line-up of similar looking suspects or anther eye-witness disagreeing with them? Most memories that people have are not traumatic or something that people take special care to note, and thus are very easily altered without the person even realizing it.

In the Harry Potter world, we can even go a step further and point out the magics of Occlumency, Legilimency, Obliviation and Imperio. According to canon, it is possible for Severus Snape to be such an accomplished occlumens that he is able to manufacture memories and emotions pefect enough to fool one of the most accomplished mind-readers of his lifetime. A person put under the Imperio Curse can be told to "remember" how previous events have transpired, and their memories will create a memory genuine enough that even the victim believes it. Using some other method (unnamed in canon), Hermione Granger manages to create entire false identities for her parents with memories spanning years...which they believed until she decided otherwise. A well placed Obliviation can erase a memory entirely.

There can be no doubt that declaring a pensieve memory as inadmissible is a very sensible and wise decision. In my personal headcanon, there are three irrefutable laws regarding memories (as outlined in my fic, Happily Ever After the Fact):

  1. All memories are entropic. This is as true in the wizarding world as it is in the Muggle world. As time marches on, memories fade. Experiences once sharp dull around the edges until they may even fade entirely.
  2. All memories are corruptible by suggestion, perception, or desire.
  3. Memories are compiled not only of sensual stimuli, but emotional response. A subject re-experiencing his (or her) own memory in a pensieve will also recall the emotion attached.



  
This is my personal explanation for Severus' unhealthy devotion to his childhood crush, and the reason behind his haemorrhage of memories at his canon death. Old memories that were so sharp were so because they were not only important to him, but because he had not _let_ them fade. My theory is that he viewed them over and over again in order to purposely relive his own guilt, shame and devotion. He wanted to torture himself with them, because after fifteen years, he desperately needed to keep his motivation alive in order to keep spying for the Order. Obviously, this is in NO WAY canon, but I enjoy it as an explanation. 

**Notes for the Chapter:**

> Thoughts?
> 
> *I would like to state for the record that I mean "spiritual" health as a loose term meaning having a healthy idea of what your personal ethics/beliefs are and following them. Soul-health, for lack of better term. It does not in any way mean a specific religion or belief system.

**Author's Note:**

> A/N: If you found these interesting, I'd love to hear from you. Obviously, these notes are pretty detailed and deviate from canon on several points, so I am not expecting everyone to agree with me and my head-canon. I do not begrudge you that disagreement. However, I do NOT appreciate flaming or yelling because my head-canon is not the same as canon. Especially after I have taken pains to mention several times (including a warning) that I am aware that what I've created here is not canon. It's kind of the fun of fan-fiction that we can build on an existing world to our liking after all, isn't it? Cheers, love, and hope you enjoy-Tyche


End file.
